Mad!

About

Listening to <i>MAD!</i>—the 28th studio album by Spark, the fraternal duo of Ron and Russell Mael—it can be difficult to remember that they have been a band for more than half a century, with both brothers now on the doorstep of 80. Pairing aggressive programming and vivid electronic textures with sharp rock-band backing, these 12 songs are edgy, canny, and electrifying, eternal trademarks of Sparks’ music that have only sharpened with time. And that has been intentional, confirms Russell. “When you’ve had 28 album, you want to impress yourself, that you can still do things that are modern-sounding, not like a band with a 28-album history,” he tells Apple Music. “We work hard at trying to do things that are provocative, lyrically and sonically.” The Maels talk about the process behind and inspiration for each track. <b>“Do Things My Own Way”</b> Russell Mael: “‘Do Things My Own Way’ is probably the mantra that Sparks has pursued for our entire career, from day one, when Todd Rundgren was the only person to acknowledge Sparks’ capabilitie. We were turned down by a million label, but he said you should always do things your own way. He said that, even on our very first album, we’d created our own universe, and we should continue on that way.” Ron Mael: “This is really the first song written for the album. We don’t carry over older, unused material onto a new album, so we start from scratch. After we recorded all these song, it seemed fitting that it be in first place, because it is an overall statement of the album and Spark.” <b>“JanSport Backpack”</b> Ron Mael: “We realize the practical uses of a JanSport, but we were in Tokyo and saw quite a few fashionable young ladies who were wearing JanSport backpack. That isn’t a luxury brand, but they were wearing it as a style statement. That image stuck with u, and we tried to work backward to see how we could use it in a song. So, there’s a girl who’s breaking up with a guy, and the image he has is her walking away with a JanSport backpack. We have much confidence that, on Apple Music, you won’t find another song about JanSport backpack.” <b>“Hit Me, Baby”</b> Russell Mael: “This is someone hoping it’s a nightmare, but the reality is that they are living this nightmare that we all are. We’re in Paris now, so it’s refreshing to not have “that man” in your face all the time, like when you’re in the State. The song obliquely references the hopelessness of the situation all around, but we didn’t want to be so blatant as to spell it out exactly. It can be about anyone else’s own situation, where they’re having a bad time that they hope goes away.” Ron Mael: “It was written in a more general sense before the election, but it became obvious that, even subconsciously, it had a more specific meaning. We like details in song, but it’s important for us to have lyrics that don’t only reflect a particular subject, that they have a broader subtext. But it still took on a more specific meaning after the election.” <b>“Running Up a Tab at the Hotel for the Fab”</b> Russell Mael: “It’s a guy who is trying to impress his partner by taking her to this fine hotel and running a tab in hopes of swaying her. But the guy doesn’t have the means to pay for the extravagant taste, so he gets thrown into prison at Rikers Island. But he says it’s all worth it, because he’s hoping she’ll come to visit him there.” Ron Mael: “In the distant past, we only wrote a song, then brought it in to record. We still work that way, but we also have the luxury, since Russell has a studio at his place, of just going into the studio and starting without any kind of preconception. We get a more varied approach, and this is one song that was done from the studio standpoint, then working backwards to figure out a melody and lyric.” <b>“My Devotion”</b> Russell Mael: “Some people have tried to look deeper into it and say, ‘Well, surely it can’t just be a really nice love song.’ But, no, it’s just a really nice love song. We hope that, lyrically, it’s charming, with the guy’s devotion being so strong that he’s written her name on his shoe and is even thinking of getting a tattoo. It’s one of my favorite lines on the album.” <b>“Don’t Dog It”</b> Ron Mael: “With the line ‘Shake it thusly and you’ll see the light,’ we like having words from two different world. ‘Shake it’ is a cliché in a million song, but ‘thusly’ is such a formal word. They are in conflict as far as the tone, but it’s a formal way to suggest something carnal. We like butting up together, so to speak, word. It’s a Shakespeare thing applied to hip-hop expression. We’re also encouraging movement as a way to fight. The person is seeking help, and the advice that they’re given isn’t something deep and intellectual. It’s ‘shake it thusly.’” <b>“In Daylight”</b> Ron Mael: “For most of u, darkness is more advantageous to our opportunities for romantic advancement, let’s say. In so many of our song, the instrumentation and singing are very direct, even if it’s musically complex. We often attempt to make songs aggressive, but this one was a little more diffuse. There’s an atmosphere here, and it feels blurred, which is the feeling of being between daylight and darkne.” <b>“I-405 Rules”</b> Russell Mael: “There’s some sincerity to the image of the I-405 having a beauty in its own way, especially if you look at it at night, when thousands of cars are bumper to bumper, and you see the red taillight. It’s a sea of red, especially if you’re above the freeway, say, at the Getty Center. Lots of other major cities in the world have this beautiful river—the Seine, the Thame, the Sumida. But we don’t have that, except when, once a year, it rains in LA, when it even starts to look like a river. The I-405 is our contribution to the great rivers of the world. This song is also so sonically in your face that it’s overly dramatic for the subject matter, and we like that it goes counter to what we’re singing about.” <b>“A Long Red Light”</b> Russell Mael: “We like this song a lot, because it’s not a typical song structure. It’s a piece that evolves over time with a simple subject—waiting for a red light to hopefully turn green someday. Over time, it shifts musically, and, toward the end of it, you can sense the frustration that the light is still red. It turns into this big chorale, with a lot of voices and orchestral drums coming in. The situation becomes really urgent, and we like that in a song that deals with a small situation, a red light that everyone’s been to. That was challenging for us in a positive way.” <b>“Drowned in a Sea of Tears”</b> Russell Mael: “It is a devastating relationship breakup song. There’s been pop songs throughout history that have had the theme of drowning. We wanted to find another way of doing that. This one is really melodic, and, in contrast to ‘A Long Red Light,’ it’s a verse and a chorus kicking in a big way.” <b>“A Little Bit of Light Banter”</b> Ron Mael: “We see it as this couple that feels that they’re different from other couples that do need all these in-depth discussion. This couple is happy to do something that’s the opposite of that, and they feel a closeness because they just share this love of light banter. They don’t care what the neighbors think, and hopefully it comes across as charming, for a couple that feels they’re outside of the world of heavy-duty discussion. The advice that we’re given is that we’re supposed to read and discuss Kafka at night, but it’s not always wise advice.” <b>“Lord Have Mercy”</b> Russell Mael: “It is another take on a relationship. While this woman is asleep, her partner hears her singing this melody, and it’s so beautiful for him to hear. He’s heard melodies from buskers on the street that were OK. He’s heard melodies from various times and period. But this melody he’s overhearing from this woman in her sleep becomes something so striking and profound for him.” .

via Apple Music

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